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I've been travelling the world for the past 25 years. | 0:00:03 | 0:00:06 | |
I've met so many people, in so many countries, that everyone | 0:00:08 | 0:00:11 | |
thinks of me as the man who's been everywhere. | 0:00:11 | 0:00:13 | |
But in all these years, there's been one big gap in my passport. | 0:00:15 | 0:00:19 | |
Nothing less than the fifth largest country on earth. | 0:00:20 | 0:00:24 | |
A country blessed with a melting pot of peoples | 0:00:27 | 0:00:29 | |
and an abundance of resources. | 0:00:29 | 0:00:31 | |
A country that's risen, almost out of nowhere, to become | 0:00:33 | 0:00:35 | |
a 21st-century superpower. | 0:00:35 | 0:00:37 | |
It's the host of the next World Cup and the next Olympic Games. | 0:00:39 | 0:00:44 | |
It's a country whose time has come. | 0:00:44 | 0:00:47 | |
How can I say I've seen the world, when I haven't seen Brazil? | 0:00:48 | 0:00:51 | |
OK, waterfall. We defy you. We defy you. | 0:00:53 | 0:00:58 | |
Brazil is now the sixth largest economy in the world, | 0:01:13 | 0:01:17 | |
with 80% of the population living in megacities where industry | 0:01:17 | 0:01:21 | |
and technology flourish. | 0:01:21 | 0:01:24 | |
But alongside this 21st-century dynamism, | 0:01:24 | 0:01:27 | |
there are people in Brazil whose way of life has remained | 0:01:27 | 0:01:30 | |
unchanged for thousands of years. | 0:01:30 | 0:01:33 | |
It's in their land that I start this leg of my journey. | 0:01:35 | 0:01:38 | |
Amazonia is a region which has enticed explorers | 0:01:40 | 0:01:43 | |
and adventurers for centuries. | 0:01:43 | 0:01:44 | |
In this episode, I shall be travelling its vast distances, | 0:01:45 | 0:01:49 | |
from the border with Venezuela to the nation's capital, Brasilia. | 0:01:49 | 0:01:53 | |
I'm excited, and a little apprehensive. | 0:01:55 | 0:01:58 | |
Below me thick rainforest cloaks an area as remote | 0:01:58 | 0:02:01 | |
and inaccessible as anywhere on the planet. | 0:02:01 | 0:02:05 | |
When people from the west landed in Brazil, just over 500 years | 0:02:08 | 0:02:11 | |
ago, there were some five million indigenous people living here. | 0:02:11 | 0:02:16 | |
A fraction is now left. | 0:02:16 | 0:02:18 | |
One of the largest and least contacted of these are the Yanomami. | 0:02:19 | 0:02:22 | |
I land at the recently-built government outpost, | 0:02:25 | 0:02:28 | |
3km away from their village. | 0:02:28 | 0:02:30 | |
The sound of the plane has drawn an inquisitive crowd. | 0:02:30 | 0:02:33 | |
The Yanomami have a reputation for being warriors and hunters, | 0:02:43 | 0:02:47 | |
and I'm barely off the plane before I'm into archery practice. | 0:02:47 | 0:02:51 | |
That rock there. | 0:02:51 | 0:02:52 | |
SPEAKS OWN LANGUAGE | 0:02:52 | 0:02:54 | |
Wow, pretty good! What do you mean, go and get it? | 0:02:56 | 0:03:00 | |
All right. | 0:03:00 | 0:03:01 | |
It's a bit of bamboo, very sharp and | 0:03:08 | 0:03:11 | |
fine point of... Looks like bone or something, | 0:03:11 | 0:03:14 | |
maybe it's just wood. | 0:03:14 | 0:03:15 | |
Beautiful, very nice, very nice. Now you... That bird there. | 0:03:16 | 0:03:23 | |
Oh, wow. | 0:03:29 | 0:03:31 | |
Very good. | 0:03:37 | 0:03:39 | |
No, I'm not going to do it, you go and get it. | 0:03:39 | 0:03:44 | |
They're much less | 0:03:44 | 0:03:45 | |
fierce than I expected and seem to regard me, and my accessories, | 0:03:45 | 0:03:50 | |
as a considerable source of entertainment. | 0:03:50 | 0:03:53 | |
It's good to be here. I've never | 0:03:53 | 0:03:55 | |
been in this part of the world before. | 0:03:55 | 0:03:57 | |
Oh, yeah, it's my own hair. | 0:03:57 | 0:03:59 | |
I didn't expect to be doing | 0:03:59 | 0:04:01 | |
comedy on my first day in the Amazon. | 0:04:01 | 0:04:04 | |
It's an hour's walk through the forest to where they live, | 0:04:11 | 0:04:14 | |
and as we finally approach the thatched walls of their village, | 0:04:14 | 0:04:18 | |
or maloca, I realise I'm entering deeply unfamiliar territory. | 0:04:18 | 0:04:22 | |
Unlike us, the Yanomami live communally in a huge, round, | 0:04:26 | 0:04:31 | |
thatched house. | 0:04:31 | 0:04:32 | |
It must be at least 400m in circumference. | 0:04:32 | 0:04:36 | |
There appears to be no privacy whatsoever. | 0:04:36 | 0:04:39 | |
I've no idea where you're supposed to wash or do all those other | 0:04:40 | 0:04:43 | |
private things. | 0:04:43 | 0:04:45 | |
They don't seem to do toilets, but perhaps they don't need them | 0:04:45 | 0:04:48 | |
with a million square miles of virgin forest outside. | 0:04:48 | 0:04:51 | |
At last, I'm shown to my room, sorry, bed, sorry, hammock. | 0:04:54 | 0:04:57 | |
Now here, this is my hammock. | 0:04:57 | 0:04:58 | |
This is where I'm sleeping, I think, thank you. | 0:04:58 | 0:05:01 | |
Oh, dear. I've been in hammocks before. | 0:05:03 | 0:05:07 | |
I don't think I've ever spent an entire night in one, | 0:05:07 | 0:05:09 | |
so this'll be a bit of a first. | 0:05:09 | 0:05:12 | |
Everyone here, of course, | 0:05:12 | 0:05:14 | |
in the maloca, they all sleep in hammocks, so I think the thing | 0:05:14 | 0:05:18 | |
to do is, you have to get... That's right, in the middle there. | 0:05:18 | 0:05:20 | |
Oh, that's rather nice. | 0:05:20 | 0:05:22 | |
Then you've got to swing the legs up... Wow, ah. | 0:05:22 | 0:05:26 | |
Then stay here for about another 12 hours. | 0:05:28 | 0:05:30 | |
That's lovely. | 0:05:32 | 0:05:33 | |
The maloca seems to consist entirely of women, | 0:05:35 | 0:05:38 | |
children and one very old man. | 0:05:38 | 0:05:41 | |
But then, just as I'm settling in to some quality hammock time, | 0:05:42 | 0:05:45 | |
I get the word that the rest of the villagers are in the forest | 0:05:45 | 0:05:49 | |
preparing the traditional welcome for outsiders. | 0:05:49 | 0:05:52 | |
The welcome is both an opportunity to dress up - in this case | 0:05:59 | 0:06:03 | |
with red urucu dye and white feathers from the harpy eagle, | 0:06:03 | 0:06:07 | |
and a way to intimidate anyone who might cross their path. | 0:06:07 | 0:06:10 | |
Dressed to kill, they head back to the maloca, | 0:06:25 | 0:06:28 | |
but there's still one important ingredient for any Yanomami ritual. | 0:06:28 | 0:06:32 | |
The Yanomami are famed takers of a powerful psychotropic snuff | 0:06:33 | 0:06:37 | |
made from the bark of forest trees. | 0:06:37 | 0:06:40 | |
Apparently, it puts them into a trance-like state, | 0:06:40 | 0:06:42 | |
so they can communicate with the spirit world. | 0:06:42 | 0:06:47 | |
SINGING | 0:06:47 | 0:06:51 | |
Suitably prepared, the welcoming party enter the maloca | 0:06:54 | 0:06:58 | |
and the ritual celebrations begin. | 0:06:58 | 0:07:00 | |
CHANTING | 0:07:00 | 0:07:02 | |
I can understand why the Yanomami were nicknamed the "fierce people." | 0:07:02 | 0:07:06 | |
The women don't take the snuff and are less intimidating | 0:07:08 | 0:07:12 | |
with their version of the hokey cokey. | 0:07:12 | 0:07:14 | |
After circling the maloca repeatedly, | 0:07:17 | 0:07:19 | |
the men and boys go out into the blazing heat of the | 0:07:19 | 0:07:23 | |
day and work themselves into a state of stomping, rhythmic agitation. | 0:07:23 | 0:07:28 | |
I'm just exhausted watching. | 0:07:28 | 0:07:29 | |
After that, they need a break. I'm worried about them. | 0:07:31 | 0:07:35 | |
Feathers are blowing away, ah. | 0:07:42 | 0:07:44 | |
-ALL: -O-o-o-h! | 0:07:46 | 0:07:50 | |
After the climax of the welcoming ceremony, | 0:07:57 | 0:08:00 | |
participants are rewarded for their exertions with almost unlimited | 0:08:00 | 0:08:04 | |
amounts of a rainforest cocktail made from fermented peach palm. | 0:08:04 | 0:08:09 | |
I'd quite like to try some. Maybe I'll start with a child's portion. | 0:08:10 | 0:08:15 | |
Look at that. | 0:08:17 | 0:08:19 | |
As the day draws to a close, the effects of the snuff | 0:08:27 | 0:08:30 | |
and the cocktail create a soporific air as the maloca quietens down. | 0:08:30 | 0:08:34 | |
It's time for me to get ready for bed and my first night in a hammock. | 0:08:36 | 0:08:39 | |
Malarial mosquitoes are a constant threat here, | 0:08:43 | 0:08:46 | |
and the Yanomami are as anxious as I am to protect me. | 0:08:46 | 0:08:49 | |
I have a very bad record with mosquito nets. They always collapse. | 0:08:49 | 0:08:53 | |
Ah, yeah. That's it, yes. | 0:08:55 | 0:08:58 | |
I just need someone who knows how to do it, | 0:08:58 | 0:09:00 | |
that's the thing. I don't know either. | 0:09:00 | 0:09:03 | |
Sydney Harbour Bridge, this one. | 0:09:07 | 0:09:10 | |
Don't try this at home. | 0:09:10 | 0:09:12 | |
Four days later. | 0:09:17 | 0:09:19 | |
Is it good? | 0:09:20 | 0:09:22 | |
The slow pace of life is wonderfully infectious, | 0:09:25 | 0:09:28 | |
but as dusk draws in, I finally find a way to make myself useful. | 0:09:28 | 0:09:34 | |
There you are, you see. Great explorers. | 0:09:34 | 0:09:37 | |
Telling bedtime stories to people who don't understand a word. | 0:09:37 | 0:09:42 | |
That's Teddy Roosevelt, Theodore Roosevelt. | 0:09:42 | 0:09:45 | |
He was the President of America, and he came to this part when it was | 0:09:45 | 0:09:49 | |
very difficult to get through the forest. | 0:09:49 | 0:09:52 | |
He came on a trip with his son who was called Kermit. | 0:09:52 | 0:09:56 | |
Yeah, honestly. And a man called Rondon. | 0:09:56 | 0:09:58 | |
Mr Rondon was a Brazilian. | 0:09:58 | 0:10:01 | |
And they came here and they got | 0:10:01 | 0:10:02 | |
completely stuck and they found a river | 0:10:02 | 0:10:05 | |
to take them away and they didn't... They called it The River of Doubt. | 0:10:05 | 0:10:10 | |
They didn't know where it began, didn't know where it ended. | 0:10:10 | 0:10:12 | |
But eventually, after many days, | 0:10:12 | 0:10:14 | |
they pushed their way down this river | 0:10:14 | 0:10:16 | |
against a very hostile environment, | 0:10:16 | 0:10:18 | |
and they came out at the other end and Rondon, the Brazilian, | 0:10:18 | 0:10:21 | |
was so thankful to his mates, the Roosevelts, | 0:10:21 | 0:10:23 | |
that he called one of the rivers the Rio Roosevelt, | 0:10:23 | 0:10:27 | |
Rio Roosevelt. | 0:10:27 | 0:10:29 | |
Yeah, no, you laugh, | 0:10:29 | 0:10:31 | |
and he also called one of the rivers Rio Kermit | 0:10:31 | 0:10:34 | |
after his son. End of the story. | 0:10:34 | 0:10:38 | |
Bedtime. Off you go. | 0:10:38 | 0:10:40 | |
Night-time in the maloca is only slightly less rushed than daytime. | 0:10:52 | 0:10:57 | |
The pet sloth they keep in the rafters | 0:10:57 | 0:11:00 | |
seems perfectly adapted to the pace of life here. | 0:11:00 | 0:11:04 | |
"Ah, there's the sleepless Englishman, | 0:11:04 | 0:11:07 | |
"always wanting to improve his mind. | 0:11:07 | 0:11:10 | |
"What is the point?" | 0:11:10 | 0:11:12 | |
Things weren't always as secure for the Yanomami. | 0:11:18 | 0:11:21 | |
For a long time, their remoteness had protected them | 0:11:23 | 0:11:25 | |
from the trauma of contact, but the discovery of gold in the late | 0:11:25 | 0:11:29 | |
1980s changed all that. | 0:11:29 | 0:11:32 | |
Their land was invaded by thousands of illegal miners, | 0:11:32 | 0:11:36 | |
garimpeiros, who not only poisoned the river with the mercury | 0:11:36 | 0:11:39 | |
they needed to flush out the gold, but brought with them diseases, | 0:11:39 | 0:11:43 | |
like measles and tuberculosis, which swept through the tribe, killing | 0:11:43 | 0:11:48 | |
hundreds and changing forever the | 0:11:48 | 0:11:50 | |
way they perceived the outside world. | 0:11:50 | 0:11:52 | |
Only when the Brazilian government, under intense international | 0:11:58 | 0:12:01 | |
pressure, took measures to get rid of the miners, | 0:12:01 | 0:12:04 | |
did the Yanomami begin to recover. | 0:12:04 | 0:12:06 | |
But the lure of gold will always be a threat and no-one knows | 0:12:08 | 0:12:11 | |
this better than the shaman of this village, Davi Kopenawa. | 0:12:11 | 0:12:15 | |
HE SPEAKS PORTUGUESE | 0:12:15 | 0:12:19 | |
He's travelled in Brazil and overseas to plead their cause, | 0:12:20 | 0:12:24 | |
to impress on the outside world the need for continued protection. | 0:12:24 | 0:12:29 | |
As I watch him in action today, I see no remote tribesman, | 0:12:30 | 0:12:34 | |
but a consummate politician working on behalf of his people. | 0:12:34 | 0:12:37 | |
The Yanomami have lived in the forest for thousands of years. | 0:12:40 | 0:12:44 | |
Are you consulted by the government about how best to use the forest? | 0:12:44 | 0:12:51 | |
HE SPEAKS PORTUGUESE | 0:12:51 | 0:12:55 | |
-TRANSLATION: -They don't call us to go to the capital, Brasilia, | 0:12:56 | 0:13:00 | |
so we can hear what the government is planning to do with our land. | 0:13:00 | 0:13:03 | |
They don't ask us, the indigenous people, they just tell us. | 0:13:05 | 0:13:10 | |
"We are going to build the Belo Monte Dam. | 0:13:10 | 0:13:13 | |
"We are going to build the Northern Ring Road. | 0:13:13 | 0:13:16 | |
"We are going to build the army headquarters. | 0:13:16 | 0:13:19 | |
"We are going to open mines in the indigenous territory." | 0:13:20 | 0:13:24 | |
They don't consult us. | 0:13:26 | 0:13:28 | |
The fact that they have cut | 0:13:33 | 0:13:34 | |
and cleared a football pitch in the middle of the forest, | 0:13:34 | 0:13:37 | |
shows the Yanomami are not resistant to all outside influence. | 0:13:37 | 0:13:41 | |
As soccer-mad as the rest of Brazil, they save on kit by painting | 0:13:41 | 0:13:45 | |
their team colours straight onto their bodies. | 0:13:45 | 0:13:49 | |
And the Kop's filling up nicely. | 0:13:49 | 0:13:51 | |
But this outside influence, like football, has a purpose. | 0:13:55 | 0:13:59 | |
Many Brazilians feel indigenous peoples don't need such vast | 0:13:59 | 0:14:02 | |
tracts of land, which could be | 0:14:02 | 0:14:04 | |
better exploited for logging or cattle, | 0:14:04 | 0:14:06 | |
and of course mining. | 0:14:06 | 0:14:09 | |
So by hook or by crook, the government wants to bring | 0:14:09 | 0:14:12 | |
the Yanomami into this debate. | 0:14:12 | 0:14:14 | |
One hook is the provision of health care. | 0:14:21 | 0:14:24 | |
Health workers come to the maloca to treat injuries, | 0:14:26 | 0:14:29 | |
dispense drugs, and inoculate the children. | 0:14:29 | 0:14:31 | |
Today, a group of government workers has flown in to tell | 0:14:34 | 0:14:37 | |
the Yanomami of a new initiative in the way health care is delivered. | 0:14:37 | 0:14:41 | |
Despite all these undoubtedly benevolent actions, Davi, | 0:14:43 | 0:14:46 | |
the shaman, remains wary. | 0:14:46 | 0:14:49 | |
You have a, um, a clinic near here, you play football. Do you see | 0:14:51 | 0:14:56 | |
engagement with the outside world as the way forward for the Yanomami? | 0:14:56 | 0:15:02 | |
HE SPEAKS PORTUGUESE | 0:15:02 | 0:15:04 | |
-TRANSLATION: -Our priority is healthcare. This is what we need. | 0:15:05 | 0:15:10 | |
And other things like playing football, | 0:15:10 | 0:15:12 | |
this is really not a priority | 0:15:12 | 0:15:14 | |
because this is the white man's custom. | 0:15:14 | 0:15:17 | |
Our priorities are healthcare, our own culture, language and customs. | 0:15:19 | 0:15:24 | |
This is what is important. | 0:15:26 | 0:15:27 | |
Alongside the health programme is a school to teach them Portuguese, | 0:15:36 | 0:15:42 | |
a pre-requisite for closer engagement with the rest of Brazil. | 0:15:42 | 0:15:45 | |
What I've sensed from my brief stay here is the Yanomami have no | 0:15:48 | 0:15:53 | |
strong desire to change. | 0:15:53 | 0:15:54 | |
Like so many of the indigenous peoples of Brazil, it will be | 0:15:57 | 0:16:00 | |
forced upon them. | 0:16:00 | 0:16:02 | |
But who am I to judge whether a life of hunting with arrows | 0:16:02 | 0:16:05 | |
and snorting snuff is preferable to a life of iPads and TV soap operas? | 0:16:05 | 0:16:11 | |
But surely the choice should be theirs. | 0:16:11 | 0:16:13 | |
In many of these really remote northern areas of Brazil, | 0:16:24 | 0:16:28 | |
like where the Yanomami live, there's no road access at all. | 0:16:28 | 0:16:31 | |
Everything goes in and out by plane, including me. | 0:16:31 | 0:16:34 | |
So, I'm heading south now, towards the Amazon. | 0:16:34 | 0:16:37 | |
The mighty Amazon is at the heart of a network of over a thousand rivers. | 0:16:52 | 0:16:57 | |
Together, they contain up to 20% of the world's fresh water. | 0:16:57 | 0:17:01 | |
I leave the headwaters of the Rio Branco | 0:17:02 | 0:17:05 | |
and head south towards Manaus where all the great rivers gather. | 0:17:05 | 0:17:10 | |
I'm on my way to find out more about the people who live from these | 0:17:11 | 0:17:15 | |
rivers, from the growing business of eco-tourism, | 0:17:15 | 0:17:19 | |
to the declining fortunes of a people | 0:17:19 | 0:17:21 | |
almost as endangered as the Yanomami - the Seringueiros. | 0:17:21 | 0:17:26 | |
150 years ago, wild rubber, | 0:17:29 | 0:17:31 | |
harvested by thousands of Indians and the caboclos, | 0:17:31 | 0:17:35 | |
those mixed-race Indians | 0:17:35 | 0:17:37 | |
and Portuguese, created a boom which made fortunes for the rubber barons, | 0:17:37 | 0:17:42 | |
but a harsh, and pretty miserable life for those who collected it. | 0:17:42 | 0:17:45 | |
In 1876, an Englishman called | 0:17:50 | 0:17:53 | |
Henry Wickham stole some rubber seeds and sent them back to England. | 0:17:53 | 0:17:57 | |
By 1900, they had been transplanted to the Far East, | 0:17:58 | 0:18:01 | |
and by 1920, | 0:18:01 | 0:18:03 | |
the Brazilian rubber industry had all but collapsed. | 0:18:03 | 0:18:06 | |
-Michael. -Gabriel... -Welcome to the St Thomas village. | 0:18:09 | 0:18:11 | |
..yeah, thank you, thank you, thank you. | 0:18:11 | 0:18:13 | |
In the village of Sao Tomas, I'm met by local guide, Gabriel. | 0:18:13 | 0:18:18 | |
He takes me to meet Elias, one of the old Seringueiros. | 0:18:18 | 0:18:22 | |
He still taps the few remaining rubber trees which | 0:18:22 | 0:18:25 | |
leak their now not-so-precious fluid. | 0:18:25 | 0:18:29 | |
Rubber man, he know about rubber, where rubber tree is, | 0:18:29 | 0:18:32 | |
-he knows to cut the rubber tree. -Hello. | 0:18:32 | 0:18:35 | |
-Hello, mister, this is Michael. -And he's Elias, yes. | 0:18:35 | 0:18:41 | |
So, here's the rubber, rubber tree. | 0:18:41 | 0:18:45 | |
Here they are wild trees. They grow here and there and everywhere. | 0:18:45 | 0:18:50 | |
Yeah, yeah. | 0:18:50 | 0:18:52 | |
So, here's the sap, coming out, yeah. And this... Thank you. | 0:18:54 | 0:18:59 | |
-Ah, the seed. -Yes, rubber. | 0:18:59 | 0:19:00 | |
This is, these are the seeds of the rubber tree. | 0:19:00 | 0:19:03 | |
So this is what the seeds looked like | 0:19:03 | 0:19:05 | |
-that Henry Wickham... -Exactly. | 0:19:05 | 0:19:06 | |
..took from the Amazon, went back to Kew. | 0:19:06 | 0:19:08 | |
Back to, erm... | 0:19:08 | 0:19:10 | |
-They then took them out to Malaysia. -To Malaysia. | 0:19:10 | 0:19:13 | |
And end of the Brazilian rubber industry. | 0:19:13 | 0:19:16 | |
I might take one myself | 0:19:16 | 0:19:18 | |
and start the rubber industry in Sheffield. | 0:19:18 | 0:19:20 | |
Yeah. | 0:19:20 | 0:19:22 | |
They need some more investment. | 0:19:22 | 0:19:23 | |
HE SPEAKS PORTUGUESE | 0:19:23 | 0:19:28 | |
"It's dry," he said. | 0:19:29 | 0:19:30 | |
It's dry. I know, I know. We're pretending. | 0:19:30 | 0:19:33 | |
HE LAUGHS | 0:19:33 | 0:19:35 | |
The key to turning the white sap into big business was | 0:19:36 | 0:19:40 | |
a process invented in 1839 by Thomas Goodyear. | 0:19:40 | 0:19:44 | |
Vulcanisation, he called it. | 0:19:44 | 0:19:47 | |
By heating latex with sulphur, | 0:19:47 | 0:19:49 | |
he found that the brittle rubber became elastic and malleable. | 0:19:49 | 0:19:53 | |
And so the floodgates to 100 uses, | 0:19:53 | 0:19:55 | |
from tyres to waterproofs, were opened. | 0:19:55 | 0:19:59 | |
So the idea is to get it in a nice | 0:19:59 | 0:20:01 | |
sort of flexible piece of malleable material. OK. | 0:20:01 | 0:20:06 | |
-Look here. -Yeah. | 0:20:06 | 0:20:09 | |
Here we are, yeah, yeah. That's it, yeah, here we are. | 0:20:09 | 0:20:12 | |
Stick, yeah. | 0:20:12 | 0:20:14 | |
That's rubber indeed, yes. It reminds me of the handlebars | 0:20:14 | 0:20:18 | |
I have on my old bicycle at home, well, you wouldn't know, but I did. | 0:20:18 | 0:20:23 | |
To collect latex, then to make this process here. | 0:20:25 | 0:20:28 | |
So this is just a larger version of that? | 0:20:28 | 0:20:32 | |
-Oh! -Yeah, like a ball. | 0:20:35 | 0:20:36 | |
Yeah, that works. To you! | 0:20:39 | 0:20:43 | |
And so did, did people like him get rich? | 0:20:43 | 0:20:48 | |
THEY SPEAK PORTUGUESE | 0:20:48 | 0:20:52 | |
The foreigners got rich. | 0:20:58 | 0:20:59 | |
So he said, er, he said only the, rubber barons. | 0:20:59 | 0:21:02 | |
-Caboclos? -Caboclos, no. -Yes. Hard life. | 0:21:02 | 0:21:07 | |
Elias carries with him an air of sadness and regret, | 0:21:10 | 0:21:14 | |
as do many caboclos of his generation. | 0:21:14 | 0:21:17 | |
Life goes on. But there will be no more good times. | 0:21:18 | 0:21:22 | |
If there ever were. | 0:21:22 | 0:21:25 | |
Even a younger man like Gabriel believes the river has | 0:21:34 | 0:21:37 | |
magical properties, like the legendary pink dolphin. | 0:21:37 | 0:21:40 | |
Some caboclos they believe that the animal has the capacity to | 0:21:42 | 0:21:46 | |
become a man at midnight and sometimes it's possible to find some | 0:21:46 | 0:21:53 | |
girls here pregnant. They said that the dolphin did this. | 0:21:53 | 0:21:57 | |
All the guys who are to blame, blame | 0:21:57 | 0:21:59 | |
the dolphin, that's great. It's a big dolphin. | 0:21:59 | 0:22:02 | |
A dolphin...a dolphin's responsible. | 0:22:02 | 0:22:05 | |
There's something about the pink river dolphin that intrigues me. | 0:22:06 | 0:22:10 | |
Thanks to a local dolphin wrangler, there is a way I can find out more. | 0:22:10 | 0:22:14 | |
Well, the first time I've actually done...swum with | 0:22:14 | 0:22:17 | |
the dolphins... They are here, which is rather good, | 0:22:17 | 0:22:20 | |
but I have to wear this, this is regulations for the Brazilian | 0:22:20 | 0:22:23 | |
authorities, even though I'm only going to be standing on the board. | 0:22:23 | 0:22:27 | |
It's not some strange incontinence garment, in case you think so. | 0:22:27 | 0:22:30 | |
So, here we go. | 0:22:30 | 0:22:32 | |
The water's very black, so I can't actually see anything at all. | 0:22:34 | 0:22:37 | |
OK, on the platform now, and where is the dolphin? | 0:22:38 | 0:22:44 | |
Then, quite suddenly, there they are. | 0:22:44 | 0:22:48 | |
She's quite alarming with the teeth. | 0:22:50 | 0:22:52 | |
Unable to resist the lure of the sardine. | 0:22:52 | 0:22:54 | |
Terrific jaws, in fact, rows of about 25 teeth on either side. | 0:23:10 | 0:23:14 | |
At first it's slightly... Ooh, I can feel his body | 0:23:16 | 0:23:18 | |
rubbing against the bottom of my leg. | 0:23:18 | 0:23:21 | |
Once they've got the fish, they just sort of rub against you | 0:23:25 | 0:23:29 | |
and almost use you to bounce off back into the water. | 0:23:29 | 0:23:32 | |
They're big, sort of sturdy, quite heavy creatures. | 0:23:32 | 0:23:35 | |
I'm now actually off the platform, free in the water | 0:23:41 | 0:23:44 | |
and a bit apprehensive of the beak. | 0:23:44 | 0:23:47 | |
Whoa. Oh, yes, very good. I wish I could do that. | 0:23:47 | 0:23:54 | |
Fantastic. I so easily could have been that sardine. | 0:23:54 | 0:24:00 | |
OK, guys, well, you can all go home now leave me | 0:24:05 | 0:24:08 | |
floating in the Rio Negro with my new friends, my new chums. | 0:24:08 | 0:24:13 | |
We are the sardine generation. | 0:24:15 | 0:24:17 | |
There are many spectacular sights in the Amazon, | 0:24:35 | 0:24:38 | |
but few can rival the confluence of the region's | 0:24:38 | 0:24:41 | |
two mightiest rivers - the muddy Amazon itself, rich with | 0:24:41 | 0:24:45 | |
acidic sludge from the Andes, | 0:24:45 | 0:24:47 | |
and the tannin-black waters of the Rio Negro. | 0:24:47 | 0:24:50 | |
It is an absolutely extraordinary sight, | 0:24:53 | 0:24:56 | |
because it is so clear and sharp that it really | 0:24:56 | 0:24:59 | |
is like a battle between the black tea and the milky coffee coming in. | 0:24:59 | 0:25:05 | |
The coffee colour wins over the black tea in the end. | 0:25:06 | 0:25:09 | |
Leaving the new double-strength Amazon to flow another | 0:25:09 | 0:25:13 | |
thousand miles to the sea, | 0:25:13 | 0:25:15 | |
we descend to the city which is synonymous with this great river. | 0:25:15 | 0:25:19 | |
Manaus, once a jungle outpost, is now home to two million people. | 0:25:19 | 0:25:25 | |
Rubber put Manaus on the map. At the heyday of the boom, | 0:25:26 | 0:25:29 | |
it was the richest city in the southern hemisphere. | 0:25:29 | 0:25:32 | |
The first in Brazil to have trams, the second to have electricity. | 0:25:32 | 0:25:36 | |
At the turn of the 20th century, fortunes were made | 0:25:36 | 0:25:40 | |
and spent here. | 0:25:40 | 0:25:41 | |
The rubber barons spared nothing in creating a mini | 0:25:41 | 0:25:45 | |
Paris in the rainforest. | 0:25:45 | 0:25:46 | |
But when the British stole the rubber | 0:25:48 | 0:25:50 | |
trade away from Brazil, the glories of Manaus quickly faded. | 0:25:50 | 0:25:54 | |
Except, that is, for one magnificent survivor. | 0:25:54 | 0:25:57 | |
The Teatro Amazonas, the Manaus Opera House, | 0:26:01 | 0:26:04 | |
has been sumptuously restored. | 0:26:04 | 0:26:07 | |
Designed by Italians, built with Scottish ironwork | 0:26:07 | 0:26:09 | |
and French marble, it was intended to show that, | 0:26:09 | 0:26:12 | |
jungle or no jungle, anything Europe could do, Brazil could do better. | 0:26:12 | 0:26:18 | |
100 years on, the Amazon Philharmonic Orchestra | 0:26:26 | 0:26:29 | |
are rehearsing the overture to a Brazilian opera called | 0:26:29 | 0:26:33 | |
Il Guarany, about a doomed love affair between a Portuguese | 0:26:33 | 0:26:37 | |
noblewoman and a native Indian. | 0:26:37 | 0:26:39 | |
The musicians come from all over the world, | 0:26:47 | 0:26:50 | |
many from the former East European countries. | 0:26:50 | 0:26:53 | |
The latest of a long line of immigrants who've come | 0:26:53 | 0:26:56 | |
to the Amazon to find a better life. | 0:26:56 | 0:26:58 | |
Manaus might have had its day as the centre of the great rubber boom, | 0:27:03 | 0:27:06 | |
but there was still one more act in the great Brazilian rubber drama. | 0:27:06 | 0:27:10 | |
It was here, at the ferry port of Santarem | 0:27:15 | 0:27:17 | |
on the Amazon, in the mid-1920s, | 0:27:17 | 0:27:20 | |
that a group of Americans from the Ford motor company | 0:27:20 | 0:27:23 | |
set off to find a site in the jungle | 0:27:23 | 0:27:25 | |
where they could build their very own rubber plantation. | 0:27:25 | 0:27:31 | |
I'm going to take a ferry myself to see how their dream turned out. | 0:27:32 | 0:27:36 | |
The ferry's in there somewhere. | 0:27:39 | 0:27:41 | |
I've just got to find it. | 0:27:41 | 0:27:43 | |
These tightly-packed boats are the lifeblood of the river system. | 0:27:46 | 0:27:49 | |
Not just for people, but for goods too. | 0:27:49 | 0:27:52 | |
No trucks are allowed at the jetty, so all cargo, | 0:27:52 | 0:27:56 | |
which seems to consist largely of beer, | 0:27:56 | 0:27:58 | |
has to be manhandled onto the boats. | 0:27:58 | 0:28:00 | |
But, amazingly, my 4.30 ferry out of Santarem leaves dead on 4.30. | 0:28:03 | 0:28:09 | |
I'm now on my way to one of the | 0:28:13 | 0:28:15 | |
strangest locations of modern Brazilian history, | 0:28:15 | 0:28:19 | |
a place called Fordlandia, which Henry Ford created | 0:28:19 | 0:28:23 | |
in the 1920s, | 0:28:23 | 0:28:26 | |
an experiment in rubber production. | 0:28:26 | 0:28:28 | |
There isn't a lot of room on board, but not to worry. | 0:28:36 | 0:28:39 | |
Journey only takes 14 hours. | 0:28:39 | 0:28:42 | |
We shall navigate rivers the size of lakes, | 0:28:44 | 0:28:47 | |
turning south off the Amazon and up its tributary, | 0:28:47 | 0:28:51 | |
the Tapajos. | 0:28:51 | 0:28:52 | |
I must say, when I first got on, there was a bit of chaos. I thought, | 0:29:00 | 0:29:03 | |
"Can I survive this?" But it kind of... | 0:29:03 | 0:29:05 | |
There's an order here and you settle down | 0:29:05 | 0:29:08 | |
and get your hammock and I | 0:29:08 | 0:29:10 | |
just can't believe I've discovered the joys of hammock travelling | 0:29:10 | 0:29:13 | |
so late in my | 0:29:13 | 0:29:15 | |
travelling life. They're just... They are... | 0:29:15 | 0:29:17 | |
They are wonderful. And here in Brazil, of course, you | 0:29:17 | 0:29:20 | |
don't have the government hammock or the | 0:29:20 | 0:29:23 | |
shipping line hammock, you have your own colour - | 0:29:23 | 0:29:25 | |
look at all these lovely colours! | 0:29:25 | 0:29:26 | |
And you take up a minimum amount of space. | 0:29:26 | 0:29:29 | |
Pretty simple. If you want to have a look around, you do | 0:29:29 | 0:29:32 | |
that, and if you want to be a bit private, you just, | 0:29:32 | 0:29:34 | |
you know, that, and it's... | 0:29:34 | 0:29:37 | |
I think I was just born to swing from hooks. | 0:29:37 | 0:29:43 | |
It's a grey old morning on the Tapajos, | 0:30:38 | 0:30:40 | |
and I've transferred to a smaller ferry which will drop me off | 0:30:40 | 0:30:44 | |
where the men from Dearborn, Michigan, first arrived | 0:30:44 | 0:30:47 | |
some 80 years ago. | 0:30:47 | 0:30:50 | |
And what looks like a mirage at first is indeed my destination - | 0:30:50 | 0:30:55 | |
Fordlandia. | 0:30:55 | 0:30:56 | |
There it is. | 0:30:59 | 0:31:01 | |
To turn Ford's dream into reality, factories | 0:31:03 | 0:31:05 | |
were built and Midwestern houses and streets | 0:31:05 | 0:31:09 | |
sprang up as fast as the jungle could be stripped and cleared. | 0:31:09 | 0:31:14 | |
Under the guidance of the top men in the American motor industry, | 0:31:14 | 0:31:17 | |
schools were built and a transport system created to carry | 0:31:17 | 0:31:20 | |
the workforce. | 0:31:20 | 0:31:22 | |
It was an epic adventure. | 0:31:25 | 0:31:28 | |
And in the end, an epic failure. | 0:31:29 | 0:31:32 | |
Ford's plan for his company to produce all its own rubber | 0:31:41 | 0:31:45 | |
collapsed as disease destroyed the trees | 0:31:45 | 0:31:48 | |
and ill-health sapped the workforce. | 0:31:48 | 0:31:51 | |
In 1945, the Americans finally packed up and went home, | 0:31:53 | 0:31:58 | |
leaving behind the ghosts of a great enterprise. | 0:31:58 | 0:32:01 | |
This is all that remains of what was | 0:32:14 | 0:32:16 | |
once Fordlandia's state-of-the-art hospital. | 0:32:16 | 0:32:20 | |
Now the only signs of life are colonies of bats | 0:32:20 | 0:32:23 | |
occupying the rooms and the operating theatres. | 0:32:23 | 0:32:27 | |
And this is it. | 0:32:31 | 0:32:32 | |
This is all that's left of Henry Ford's great dream | 0:32:32 | 0:32:37 | |
of creating the perfect America in Brazil. | 0:32:37 | 0:32:41 | |
Belem, one of the oldest cities of the Amazon, is the perfect | 0:33:00 | 0:33:04 | |
place to lift the spirits. | 0:33:04 | 0:33:06 | |
Located close to where the river meets the sea, it bounces | 0:33:06 | 0:33:09 | |
and bustles with life, | 0:33:09 | 0:33:10 | |
as the fishermen bring in the | 0:33:10 | 0:33:12 | |
produce of the fertile waters of the delta. | 0:33:12 | 0:33:15 | |
Watched all the way by the resident rubbish collectors, | 0:33:15 | 0:33:18 | |
an enthusiastic flock of turkey vultures. | 0:33:18 | 0:33:21 | |
This gothic extravaganza, made from Glaswegian ironwork, | 0:33:24 | 0:33:28 | |
is the market they called Ver-o-peso. | 0:33:28 | 0:33:31 | |
"See the weight." A reference to the days | 0:33:31 | 0:33:33 | |
when the Portuguese extracted taxes on the local produce. | 0:33:33 | 0:33:39 | |
Ver-o-peso is one of the great fish markets in Brazil. | 0:33:45 | 0:33:49 | |
And I'm guided around it by Priscilla, a young music manager, | 0:33:49 | 0:33:53 | |
and someone for whom quality is vital. | 0:33:53 | 0:33:55 | |
Belem's top rated young chef, Thiago Castanho. | 0:33:55 | 0:34:00 | |
Tucunare. | 0:34:00 | 0:34:02 | |
Oh, yeah...tucunare. | 0:34:02 | 0:34:05 | |
-They are cheap. -Eye on the back, yeah. This is beautiful. -Very. | 0:34:05 | 0:34:10 | |
What a beautiful-looking fish. | 0:34:10 | 0:34:13 | |
Part of the thing about food here seems there's | 0:34:13 | 0:34:16 | |
so much of everything. Not just fish, but fruit and... | 0:34:16 | 0:34:19 | |
THIAGO SPEAKS PORTUGUESE | 0:34:19 | 0:34:24 | |
Belem has a lot of different food. | 0:34:28 | 0:34:32 | |
-Every fish, every fruit has its season. -Oh, right. OK. | 0:34:32 | 0:34:36 | |
-So, you're always changing your menu to reflect what is seasonal. -Yes. | 0:34:36 | 0:34:43 | |
Thiago has had to go back to his kitchen. | 0:34:54 | 0:34:56 | |
But Priscilla is keen to show another aspect of Amazonian produce | 0:34:56 | 0:35:01 | |
dear to her body and soul. | 0:35:01 | 0:35:03 | |
So what's all these? | 0:35:03 | 0:35:06 | |
These are traditional medicines for almost everything. | 0:35:06 | 0:35:11 | |
-From the Amazon, from the rainforest? -Yes. | 0:35:11 | 0:35:14 | |
All from the rainforest. | 0:35:14 | 0:35:16 | |
Hello. Hola. | 0:35:16 | 0:35:18 | |
THEY SPEAK PORTUGEUSE | 0:35:18 | 0:35:21 | |
-This is andiroba. It's an oil. -Yeah. | 0:35:24 | 0:35:27 | |
We use for almost everything. | 0:35:27 | 0:35:28 | |
-We use for hair. -Yeah. | 0:35:28 | 0:35:31 | |
Have beautiful hair. The Indians use for the hair. | 0:35:31 | 0:35:33 | |
-Yes. -And we use for pain, | 0:35:33 | 0:35:36 | |
-if you have arth... -Arthritis? -Yes. | 0:35:36 | 0:35:40 | |
-Yes, on joints. -Yes, on joints. | 0:35:40 | 0:35:41 | |
Do big companies come round and | 0:35:41 | 0:35:44 | |
look at these and say, "Hey, we can make money out of this." | 0:35:44 | 0:35:47 | |
-Yes. -Arthritis and shampoo in the same bottle. | 0:35:47 | 0:35:50 | |
-That's something. -There are now shampoos in Brazil with this. | 0:35:50 | 0:35:53 | |
-Really? -Really, because companies are coming for this. | 0:35:53 | 0:35:55 | |
This is very traditional. Everyone uses. | 0:35:55 | 0:35:58 | |
What other things do they have here? | 0:35:58 | 0:35:59 | |
I mean, you know, we've been travelling for a long time | 0:35:59 | 0:36:02 | |
and I'm quite, you know, tired, | 0:36:02 | 0:36:04 | |
few aches, you know, you feel just a little bit travel-worn. | 0:36:04 | 0:36:08 | |
Does she have something that would, you know...? | 0:36:08 | 0:36:11 | |
Liven me up? | 0:36:11 | 0:36:13 | |
THEY SPEAK PORTUGUESE | 0:36:13 | 0:36:15 | |
-TRANSLATION: -We have the natural Viagra, | 0:36:17 | 0:36:20 | |
which is an energising concoction. | 0:36:20 | 0:36:23 | |
It stimulates you sexually and mentally. | 0:36:23 | 0:36:27 | |
That's not quite what I meant, but yeah... | 0:36:27 | 0:36:30 | |
Yes. Yeah, OK. | 0:36:31 | 0:36:33 | |
What is the most popular seller here? | 0:36:33 | 0:36:37 | |
The most popular one you get asked for? | 0:36:37 | 0:36:39 | |
She says a lot of baths for love, that's the top seller. | 0:36:48 | 0:36:51 | |
Baths for love. I love that. It's like... | 0:36:51 | 0:36:55 | |
Yeah, so sex is quite an important | 0:36:55 | 0:36:58 | |
problem for people, I suppose? | 0:36:58 | 0:37:01 | |
Yeah, in Brazil as well? | 0:37:01 | 0:37:03 | |
You always imagine the Brazilians being sexually very happy | 0:37:03 | 0:37:06 | |
-and harmonious and fulfilled. -Probably because of this. | 0:37:06 | 0:37:09 | |
Probably because of this, yes. | 0:37:09 | 0:37:10 | |
Well, that kind of bottle, yeah. | 0:37:10 | 0:37:12 | |
Oh, well, I don't think I'll take that because, well... | 0:37:12 | 0:37:17 | |
I'm past that now but maybe... | 0:37:17 | 0:37:19 | |
-You should have the spiritual one too. -Something... Yes. | 0:37:19 | 0:37:22 | |
Something that would help me learn Portuguese. | 0:37:22 | 0:37:25 | |
The reward for a hard morning shopping in this | 0:37:31 | 0:37:34 | |
palace of delights is lunch with Priscilla, | 0:37:34 | 0:37:37 | |
at Thiago's newly opened, decidedly upmarket restaurant. | 0:37:37 | 0:37:41 | |
Thiago may be the star of his | 0:37:49 | 0:37:50 | |
all-male kitchen, but Priscilla makes | 0:37:50 | 0:37:53 | |
it clear the fairer sex is the stronger one around here. | 0:37:53 | 0:37:56 | |
The strong people, they are women. Women are strong in the Amazon. | 0:38:00 | 0:38:04 | |
-Really? -Really. | 0:38:04 | 0:38:06 | |
A lot of the shopkeepers are women, yeah. | 0:38:06 | 0:38:09 | |
Yeah. You see, the men they don't talk that much, they stay out, | 0:38:09 | 0:38:13 | |
they keep their place. | 0:38:13 | 0:38:14 | |
That's interesting cos the original word, | 0:38:14 | 0:38:16 | |
the Spanish word Amazon was the woman, | 0:38:16 | 0:38:18 | |
the warriors. You know, the... | 0:38:18 | 0:38:21 | |
-Yes. -Entirely female warriors. -That's how, that's how I see... | 0:38:21 | 0:38:25 | |
Do you see yourself in that, er, tradition? | 0:38:25 | 0:38:28 | |
Yes, I think so. You've going to meet Gaby. | 0:38:28 | 0:38:30 | |
-Yeah. -Yeah, the singer. | 0:38:30 | 0:38:32 | |
-Gaby is who you manage, yeah? -You're | 0:38:32 | 0:38:35 | |
going to understand the power of Amazon women when you meet her. | 0:38:35 | 0:38:39 | |
Gaby Amarantos is quite something. | 0:38:48 | 0:38:50 | |
She's created a fusion of old-style local music with a modern beat | 0:38:50 | 0:38:54 | |
that she's christened tecnobrega. | 0:38:54 | 0:38:57 | |
Gaby's been trying to make it in the business since she was a teenager. | 0:39:01 | 0:39:04 | |
What keeps her going, | 0:39:04 | 0:39:06 | |
even in a modest local bar like this, | 0:39:06 | 0:39:08 | |
is a strength and self-belief which she attributes to her | 0:39:08 | 0:39:11 | |
mixed-race Amazonian roots. | 0:39:11 | 0:39:13 | |
SHE SPEAKS PORTUGUESE | 0:39:20 | 0:39:23 | |
-TRANSLATION: -I think women from the Amazon feel free and natural because | 0:39:26 | 0:39:29 | |
we are a product of our indigenous | 0:39:29 | 0:39:32 | |
roots and I am very proud of my origins. | 0:39:32 | 0:39:34 | |
I feel free to say how I feel through my music, and I think | 0:39:37 | 0:39:41 | |
this is very particular, special | 0:39:41 | 0:39:43 | |
characteristic of the women from the Amazon. | 0:39:43 | 0:39:45 | |
They are more relaxed. | 0:39:47 | 0:39:49 | |
Gaby's been called the Beyonce of the Amazon, | 0:39:54 | 0:39:56 | |
but to me there's something else going on here. | 0:39:56 | 0:39:59 | |
Something more Boadicea than Beyonce. | 0:39:59 | 0:40:02 | |
I feel a force and the people that watch the show, | 0:40:06 | 0:40:09 | |
they have never seen me, that are not from here... | 0:40:09 | 0:40:13 | |
they see a force of nature, | 0:40:13 | 0:40:15 | |
bringing them the power of Amazonia. | 0:40:15 | 0:40:17 | |
So I feel something that I can't explain, that gives me | 0:40:19 | 0:40:21 | |
goose bumps, that makes people fall in love with this | 0:40:21 | 0:40:25 | |
type of music and they know that there is something behind it... | 0:40:25 | 0:40:31 | |
SHE SINGS IN PORTUGUESE | 0:40:31 | 0:40:33 | |
With the sounds of Gaby's tecnobrega still ringing in my ears, | 0:40:53 | 0:40:56 | |
I head south from Belem up one of | 0:40:56 | 0:40:58 | |
the major tributaries of the Amazon, the Xingu river. | 0:40:58 | 0:41:02 | |
It runs through one of the most protected areas in Brazil. | 0:41:04 | 0:41:07 | |
60 years ago, a reservation | 0:41:08 | 0:41:10 | |
for the ten tribes of the Upper Xingu | 0:41:10 | 0:41:12 | |
was created. | 0:41:12 | 0:41:13 | |
In contrast to the Yanomami, their land is more accessible, | 0:41:15 | 0:41:19 | |
so it's been a constant fight against incursions. | 0:41:19 | 0:41:22 | |
Today, only those invited by the | 0:41:23 | 0:41:25 | |
tribes themselves are allowed to enter. | 0:41:25 | 0:41:28 | |
I've no idea what I shall find, or how I'll be received. | 0:41:30 | 0:41:34 | |
My legs are wobbly. Hello! | 0:41:34 | 0:41:38 | |
Hi. We've been invited here by the Wauja people, | 0:41:40 | 0:41:46 | |
of whom there are fewer than 500 left in the world. | 0:41:46 | 0:41:49 | |
THEY CHANT | 0:41:49 | 0:41:52 | |
The Wauja are feared warriors, renowned for their wrestling skills. | 0:41:56 | 0:42:00 | |
But they're equally well known for their elaborate rituals. | 0:42:00 | 0:42:04 | |
I'm not absolutely sure if this is a war dance or a welcome. | 0:42:04 | 0:42:07 | |
Happily, it turns out to be both. | 0:42:08 | 0:42:10 | |
-Brilliant. That was brilliant. -Woo! -Woo! | 0:42:17 | 0:42:22 | |
Fantastic, thank you. Thank you. | 0:42:22 | 0:42:25 | |
Their elaborate body decorations and the feathers they use | 0:42:30 | 0:42:34 | |
on their arms and ears are beautiful, | 0:42:34 | 0:42:36 | |
but to a newcomer, quite mystifying. | 0:42:36 | 0:42:39 | |
As is the purpose of the elaborate dances they've laid on. | 0:42:39 | 0:42:42 | |
Fortunately, I'm in good hands. Our intermediary with the Wauja is | 0:43:00 | 0:43:04 | |
Emi Ireland, an American anthropologist who on several | 0:43:04 | 0:43:07 | |
visits here has learnt the language | 0:43:07 | 0:43:08 | |
and developed a deep affinity with the people. | 0:43:08 | 0:43:12 | |
What's the dance about? | 0:43:17 | 0:43:18 | |
OK, this is the kagapa dance, the kagapa ceremony. | 0:43:18 | 0:43:22 | |
-Kagapa. -Kagapa. | 0:43:22 | 0:43:24 | |
-Yep. -And it's a small fish, it's a bait fish and, er, it's er, | 0:43:24 | 0:43:28 | |
you find it in the shallows. | 0:43:28 | 0:43:31 | |
Yes. | 0:43:31 | 0:43:32 | |
Er, next to, under the leaves. | 0:43:32 | 0:43:33 | |
And that's why the young men are wearing leaves, | 0:43:33 | 0:43:36 | |
-cos they are the spirit of the kagapa fish. -Oh, I see. | 0:43:36 | 0:43:39 | |
And so they appear just as they do in the stream. | 0:43:39 | 0:43:42 | |
And the kagapa fish is a superb bait fish. | 0:43:42 | 0:43:45 | |
So, people are very happy to find kagapa because... | 0:43:45 | 0:43:47 | |
-It leads them to another. -A big one, yeah. -I see, yeah. | 0:43:47 | 0:43:50 | |
-So, everybody's in a good mood when there's lots of kagapa around. -Yeah. | 0:43:50 | 0:43:53 | |
What do they...? Do they catch a lot | 0:43:53 | 0:43:55 | |
of fish, is that their main source of food? | 0:43:55 | 0:43:57 | |
Of protein. | 0:43:57 | 0:43:59 | |
Ah, yeah, but along with, er, they | 0:43:59 | 0:44:01 | |
eat a lot of manioc bread, you'll have some of that. | 0:44:01 | 0:44:03 | |
Yeah. | 0:44:03 | 0:44:05 | |
And they also eat pequi fruit, it is an oily fruit, very nutritious. | 0:44:05 | 0:44:09 | |
How long does this dance go on for? | 0:44:09 | 0:44:11 | |
Ah, it usually goes on for a couple of hours. | 0:44:11 | 0:44:15 | |
And they have other ceremonies that go on for days, | 0:44:15 | 0:44:18 | |
-but not this particular one. -Yeah. | 0:44:18 | 0:44:21 | |
What's nice is they have this big village with this big population, | 0:44:23 | 0:44:26 | |
so it gives them more options for everything, | 0:44:26 | 0:44:31 | |
more options for ceremonies, more options for marriage partners. | 0:44:31 | 0:44:36 | |
For a long time, people grew up with only one or two | 0:44:36 | 0:44:39 | |
people who they could marry. | 0:44:39 | 0:44:41 | |
Wow, that takes a lot of the complication out of it. | 0:44:41 | 0:44:44 | |
Yes, it certainly does. | 0:44:44 | 0:44:47 | |
You know what you've got to do and who you've got to do it with. | 0:44:47 | 0:44:51 | |
Though it's not easy to get to the upper Xingu, | 0:44:51 | 0:44:54 | |
we're certainly not the first film crew they've ever seen. | 0:44:54 | 0:44:57 | |
Indeed, they now have film equipment themselves, | 0:44:57 | 0:45:00 | |
which they're using to make a photographic record of their tribe, | 0:45:00 | 0:45:03 | |
their way of life. | 0:45:03 | 0:45:07 | |
But are they in danger or losing something | 0:45:07 | 0:45:10 | |
because of all this outside influence? | 0:45:10 | 0:45:13 | |
The notion of purity, whether it's racial purity, | 0:45:13 | 0:45:16 | |
-or cultural purity, it's dangerous. -Yeah. | 0:45:16 | 0:45:19 | |
But what they have to maintain is vigour | 0:45:19 | 0:45:21 | |
and self-respect, self-determination, | 0:45:21 | 0:45:23 | |
empowerment, and frankly also the forest is very important | 0:45:23 | 0:45:27 | |
for all of us, and they know that. | 0:45:27 | 0:45:31 | |
Part of what this team is doing is bringing film equipment | 0:45:31 | 0:45:35 | |
so the community can record historical information | 0:45:35 | 0:45:37 | |
from their elders, so they've been very excited about this. | 0:45:37 | 0:45:41 | |
Well, first morning | 0:46:31 | 0:46:34 | |
on the Xingu, well, tributaries of the Xingu, | 0:46:34 | 0:46:37 | |
erm... | 0:46:37 | 0:46:39 | |
Coming to life quite slowly. | 0:46:39 | 0:46:41 | |
Poured with rain in the middle of the night. | 0:46:41 | 0:46:44 | |
It's the rainy season. Pelted down with rain. | 0:46:44 | 0:46:46 | |
I think they may be just sort of | 0:46:46 | 0:46:48 | |
plugging a few leaks back there. | 0:46:48 | 0:46:49 | |
These houses - | 0:46:49 | 0:46:52 | |
and I must not call them huts, I know that, they're houses - | 0:46:52 | 0:46:55 | |
are really fantastic, beautifully-built. | 0:46:55 | 0:46:58 | |
Spent quite a comfortable night there. Quite a buggy | 0:46:58 | 0:47:01 | |
sort of atmosphere, but then it is the wet season. | 0:47:01 | 0:47:04 | |
My first impression is it's almost most exotic than | 0:47:04 | 0:47:07 | |
right up the north with the Yanomami, | 0:47:07 | 0:47:09 | |
and yet I think there's more influence from outside here. | 0:47:09 | 0:47:12 | |
You see t-shirts, a pick-up truck. There's a satellite dish and | 0:47:14 | 0:47:18 | |
things like that, so something is happening here | 0:47:18 | 0:47:21 | |
which is slightly different... Well, | 0:47:21 | 0:47:23 | |
very different, actually, to the Yanomami. | 0:47:23 | 0:47:26 | |
I think these people are seeing more of the world outside. | 0:47:26 | 0:47:29 | |
Anyway, breakfast. | 0:47:29 | 0:47:30 | |
Thank you. | 0:47:36 | 0:47:38 | |
You have real potential, Michael. | 0:47:38 | 0:47:40 | |
At last, something I can do in life! | 0:47:40 | 0:47:42 | |
The preparation of food is, quite literally, hands on. | 0:47:43 | 0:47:47 | |
And the Wauja women have work for me. That's tricky there. | 0:47:47 | 0:47:51 | |
Manioc is a nutritious root that grows all year round. | 0:47:53 | 0:47:56 | |
It certainly isn't a fast food. | 0:47:56 | 0:47:58 | |
They're saying you're very good at it. | 0:47:58 | 0:48:00 | |
Don't let my wife see this. | 0:48:02 | 0:48:03 | |
She will never peel a potato again. | 0:48:03 | 0:48:06 | |
After the peeling, the grating. | 0:48:11 | 0:48:13 | |
Now, my technique here is not taken altogether seriously. | 0:48:13 | 0:48:17 | |
What's so funny? | 0:48:23 | 0:48:25 | |
SHE SPEAKS OWN LANGUAGE | 0:48:25 | 0:48:30 | |
Don't go, don't go, you should stay here | 0:48:32 | 0:48:34 | |
and we'll take you to the manioc garden. | 0:48:34 | 0:48:36 | |
-They want you to take me, yeah. -You are the ideal husband. -Oh, well. | 0:48:38 | 0:48:42 | |
This way, this way. | 0:48:43 | 0:48:44 | |
Oh, yeah, course, of course... That's it, yes, | 0:48:46 | 0:48:51 | |
yes. This is the best cookery course I've been on, really. | 0:48:51 | 0:48:55 | |
You'll never do this for Jamie Oliver. | 0:48:55 | 0:48:57 | |
How long does it take them to prepare this? | 0:49:02 | 0:49:04 | |
Just, I've just done five minutes, I'm exhausted. | 0:49:04 | 0:49:08 | |
-About three hours a day. -Three hours a day, gosh. | 0:49:08 | 0:49:11 | |
-They work hard. -They work very hard. No slackers? -No slackers. | 0:49:11 | 0:49:14 | |
But a lazy person, are they | 0:49:14 | 0:49:16 | |
stigmatised by the rest of the group? | 0:49:16 | 0:49:18 | |
-Oh, yes very much, very much so. -In what way? Called rude names? | 0:49:18 | 0:49:23 | |
Well, yes, sometimes the women won't want to marry them. | 0:49:23 | 0:49:27 | |
Is it very important for them to marry? | 0:49:27 | 0:49:29 | |
I mean, couldn't they just have the nice life as a bachelor? | 0:49:29 | 0:49:32 | |
Well, imagine how could you live well if you had no manioc? | 0:49:32 | 0:49:36 | |
You need to have a female relative to make it for you. | 0:49:36 | 0:49:39 | |
Now I know what the men's role is. | 0:49:43 | 0:49:45 | |
My final test, could | 0:50:04 | 0:50:06 | |
I turn the grated manioc into beiju - traditional Wauja bread. | 0:50:06 | 0:50:10 | |
This is getting fire in my eyes. | 0:50:11 | 0:50:14 | |
Harder, OK. | 0:50:16 | 0:50:18 | |
Ah. | 0:50:21 | 0:50:22 | |
I just can't see anything cos I'm | 0:50:22 | 0:50:24 | |
just getting smoke in my eyes. | 0:50:24 | 0:50:26 | |
You're probably jealous that your | 0:50:26 | 0:50:28 | |
wife is entertaining affection for someone else | 0:50:28 | 0:50:30 | |
and that's why smoke is blowing in your eyes. | 0:50:30 | 0:50:32 | |
-Oh, is it? Oh. -That's the reason. | 0:50:32 | 0:50:35 | |
OK, so where are we? Over again? | 0:50:35 | 0:50:36 | |
Yeah. Like that? | 0:50:39 | 0:50:41 | |
Well, I think I'm better on the grating. | 0:50:42 | 0:50:45 | |
Music and dance are an intrinsic part of Wauja life. | 0:50:57 | 0:51:01 | |
These sacred flutes can only be played, or indeed touched, | 0:51:01 | 0:51:05 | |
by the men-folk. | 0:51:05 | 0:51:06 | |
During sacred rituals, the women are not even allowed to see them, | 0:51:09 | 0:51:14 | |
but today's more of a social occasion, as young girls who have | 0:51:14 | 0:51:17 | |
been in puberty isolation are welcomed back to the community. | 0:51:17 | 0:51:21 | |
Later, Emi takes me to the house of her oldest and closest confidant, | 0:51:32 | 0:51:36 | |
the shaman Itsutaku. I ask him | 0:51:36 | 0:51:39 | |
if he feels confident about the future. | 0:51:39 | 0:51:42 | |
HE SPEAKS OWN LANGUAGE | 0:51:42 | 0:51:44 | |
The new danger is that, um, there are a lot of very | 0:51:45 | 0:51:51 | |
powerful interests that want to dam the rivers. | 0:51:51 | 0:51:55 | |
Damming the rivers destroys the ecology | 0:51:55 | 0:51:57 | |
and slowly strangles the whole community. | 0:51:57 | 0:52:00 | |
For instance, now they're planning to build a hydroelectric dam, | 0:52:00 | 0:52:04 | |
Belo Monte, which will be the third-largest dam ever built | 0:52:04 | 0:52:09 | |
and scientists who have studied it say it doesn't make any | 0:52:09 | 0:52:12 | |
sense unless there's a whole complex of dams planned. So, | 0:52:12 | 0:52:15 | |
it's an ecological catastrophe and I said to him, "How would you | 0:52:15 | 0:52:20 | |
"deal with that problem?" And he said, | 0:52:20 | 0:52:22 | |
"We don't have a solution for that." | 0:52:22 | 0:52:24 | |
I hope that Itsutaku's anxieties will prove unfounded. | 0:52:30 | 0:52:33 | |
The Wauja may be few, but that's no reason to allow a culture, | 0:52:33 | 0:52:37 | |
a language, and a way of life to simply disappear. | 0:52:37 | 0:52:41 | |
Bye-bye. Thank you. Tchau. Muito obrigato. | 0:52:45 | 0:52:49 | |
In the debate about the future of the rainforest, | 0:52:54 | 0:52:57 | |
the voice of the people who've lived here for thousands of years is | 0:52:57 | 0:53:00 | |
not only valuable, it's indispensable. | 0:53:00 | 0:53:02 | |
It's reassuring that someone else who also has | 0:53:04 | 0:53:06 | |
the future of the rainforest at heart is my pilot, Gerard Moss. | 0:53:06 | 0:53:10 | |
I spend hundreds of hours a year flying this plane at low level, | 0:53:13 | 0:53:17 | |
in the Amazon, and every single flight that I take | 0:53:17 | 0:53:22 | |
I discover new openings, new clearings, recent deforestation. | 0:53:22 | 0:53:27 | |
So, is it ever going to stop? | 0:53:27 | 0:53:29 | |
What do you think is the worst case scenario? | 0:53:29 | 0:53:32 | |
We have, in Brazil, lost approximately 20% of | 0:53:32 | 0:53:36 | |
the cover of the forest. | 0:53:36 | 0:53:38 | |
There's a general consensus among scientists | 0:53:38 | 0:53:41 | |
that once we lose close to 40% of the total area, | 0:53:41 | 0:53:46 | |
we could go into self destructive mode, and the forest becoming | 0:53:46 | 0:53:49 | |
a savannah, which has already started in certain areas. | 0:53:49 | 0:53:54 | |
Savannah meaning it's drying out, | 0:53:54 | 0:53:56 | |
it's becoming more vulnerable to fire, for instance. | 0:53:56 | 0:53:58 | |
So, fire, in a forested area of this size, could be kind of devastating? | 0:53:58 | 0:54:02 | |
Absolutely disastrous, because you have no access to combat | 0:54:02 | 0:54:05 | |
the fire, so these fires would go on for years, frankly. | 0:54:05 | 0:54:07 | |
And that is a real concern to us. | 0:54:07 | 0:54:09 | |
Do you think that the politicians have the will to change things? | 0:54:09 | 0:54:13 | |
One needs to look a bit further ahead. There's no doubt that | 0:54:13 | 0:54:16 | |
Brazil, frankly, is the, in my opinion, is the only | 0:54:16 | 0:54:19 | |
country in the world, on this planet, | 0:54:19 | 0:54:22 | |
that is capable of feeding huge, | 0:54:22 | 0:54:24 | |
vast amounts of people, we're going to be nine billion, | 0:54:24 | 0:54:26 | |
in some years' time. | 0:54:26 | 0:54:27 | |
There's no country that has all the resources, the space, | 0:54:27 | 0:54:30 | |
the land, and especially the water. | 0:54:30 | 0:54:32 | |
The decisions on how this abundance is to be managed | 0:54:36 | 0:54:39 | |
and administered will be | 0:54:39 | 0:54:41 | |
taken at the next stop on my journey, | 0:54:41 | 0:54:44 | |
as I fly 300 miles south from the natural | 0:54:44 | 0:54:47 | |
wonders of the rainforest, to the man-made wonders of one | 0:54:47 | 0:54:50 | |
of the most modern capital cities in the world, Brasilia. | 0:54:50 | 0:54:53 | |
Finding the difficult balance between wealth creation | 0:54:57 | 0:55:00 | |
and conservation is being argued out here in the country's parliament. | 0:55:00 | 0:55:04 | |
Designed in the 1950s by a communist, Oscar Niemeyer, | 0:55:06 | 0:55:09 | |
and laid out by another communist, Lucio Costa, Brasilia is a bold | 0:55:09 | 0:55:13 | |
and dazzling achievement. | 0:55:13 | 0:55:15 | |
From barren countryside to national capital in only five years. | 0:55:15 | 0:55:19 | |
The flags of the 26 Brazilian states fly outside | 0:55:20 | 0:55:24 | |
the ministries from which | 0:55:24 | 0:55:25 | |
the country's future will be decided. | 0:55:25 | 0:55:27 | |
Brazil's prosperity is growing fast, | 0:55:27 | 0:55:30 | |
enabling it to embark on ambitious projects like this brand new | 0:55:30 | 0:55:34 | |
stadium for the 2014 World Cup. | 0:55:34 | 0:55:38 | |
The economic rise of Brazil is in part due to the combination | 0:55:38 | 0:55:42 | |
of its rich, natural resources, | 0:55:42 | 0:55:44 | |
with an abundant and cheap workforce. | 0:55:44 | 0:55:47 | |
And at the very heart of the Brazilian capital there's | 0:55:47 | 0:55:50 | |
a statue that honours the working man. | 0:55:50 | 0:55:52 | |
This is a monument to the candangos, | 0:55:59 | 0:56:01 | |
the people who built this city over 50 years ago. | 0:56:01 | 0:56:04 | |
Next time, I'll be exploring where many of those candangos went | 0:56:04 | 0:56:08 | |
when the building boom in Brazilia subsided. | 0:56:08 | 0:56:11 | |
Their destination, along with many others from the north, | 0:56:15 | 0:56:18 | |
were the rich gold and iron mines of Minas Gerais | 0:56:18 | 0:56:21 | |
and the city that is synonymous with Brazil, | 0:56:21 | 0:56:24 | |
Rio de Janeiro. | 0:56:24 | 0:56:25 |